Bill Viola is recognized as a pioneer in the medium of video art, known for his iconic, large-scale, slow-motion immersive video works produced over his 40 year career. His work investigates spirituality, life, death, religious iconography, and metaphysical experiences. "Birth is not a beginning, death is not an end," as Viola has remarked, quoting from Chuang Tzu (370-287 BCE).
THE PASSIONS (He talks about invisible presence around 12:00)
"Mark Tansey’s approach to painting reflects a deep knowledge of art, as many of his motifs are either lifted from historical paintings or depict important artists and philosophers. Each of Tansey’s paintings is a carefully calculated allegory about the meaning of art and the mystery of the human impulse to make images. Rendered in a single hue, Tansey’s canvases achieve a precise photographic quality through a complex process involving the washing, brushing, or scraping of monochromatic paint into gesso. Tansey’s subjects are fantastic, sometimes surreal scenes in which intellectual theories about art are dramatized, often complete with portraits of characters drawn from the discipline’s history." -- (via The Broad)
Four Forbidden Senses 1982
A Brief History of Modernist Painting 1981
"In a painted picture, is it the depicted reality, or the reality of the picture plane, or the multidimensional reality the artist and viewer exist in? That all three are involved points to the fact that pictures are inherently problematic."
The Innocent Eye Test 1981
"I am not a realist painter. In the nineteenth century, photography co-opted the traditional function of realist painters, which was to make faithful renditions of "reality." Then the realist project was taken over by Modernist abstraction [...] Minimalism tried to eliminate the gap between the artwork and the real. After that, the project itself dematerialized. But the problem for representation is to find the other functions beside capturing the real."
"In my earlier work I was trying to learn how to bring meaning to the image, and was having difficulty activating the figure and image as a whole. Magritte's eight methods of bringing about the crisis of the object, isolation, modification, hybridization, scale change, accidental encounters, double image puns, paradox, double viewpoints in one came as a revelation. It made it apparent to me that crises and conflicts were results of oppositions and contradictions and these were what was necessary to activate or motivate a picture."
Here are some of my pedagogical musings, dabblings, wonderings and wanderings.